Translation studies project1

TRANSLATION ANALYSIS OF A FAREWELL TO ARMS WRITTEN BY ERNEST HEMINGWAY, TRANSLATED BY ASHFAQ AHMAD AS WIDAA-E-JUNGINTRODUCTION:Translation is the process of turning an original or "source" text into a text in another language[footnoteRef:1]. It is communication between humans; however, unlike most human linguistic communication, it is tied to communication between two parties that do not understand one another without the mediation of a middleman a translator. [1: Jeremy Munday]

Translation has a central core of linguistic activity, it belongs most properly to semiotics, the science that studies sign systems or structures, sign processes and sign functions[footnoteRef:2]. Beyond the notion stressed by the narrowly linguistic approach, that translation involves the transfer of `meaning' contained in one set of language signs through competent use of the dictionary and grammar, the process involves a whole set of extra-linguistic criteria also. [2: Hawks,Structuralism and Semiotics, London, 1977]

According to Nida and Taber in The Theory and Practice of Translation, Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.

Our project is about translation analysis of A Farewell to Arms (English text) by Ernest Hemingway translated as Widaa-e-Jang (Urdu text) by Ashfaq Ahmad. Although the manner and the style of English language differs to some extent as compared to Urdu language, even if the translator tries his best to retain authenticity. In our present project, we are going to analyze that how the manner and the style are different in the two languages. "To translate, one must have astyleof his own, for otherwise thetranslationwill have norhythmor nuance, which come from the process of artistically thinking through and moulding the sentences; they cannot be reconstituted by piecemeal imitation. The problem of translation is to retreat to a simpler tenor of one's own style and creatively adjust this to one's author[footnoteRef:3]." [3: Paul Goodman,Five Years: Thoughts During a Useless Time, 1969]

We have selected two texts for this project. One is in English language (the source text) and the other is its translation in Urdu language (target text). For the purpose of analysis, we will apply the models, approaches and theories on respective texts, more specifically the translated text. The following novels are selected for the analysis in this project. Novel is A Farewell to Arms by Ernest Hemingway and its translation is Widaa-e-Jang by Ashfaq Ahmad.HYPOTHESIS:Ashfaq Ahmed is acknowledged as a globally-renowned playwright, intellectual and spiritualist. It is assumed that the target text (translated by Ashfaq Ahmad) has succeeded in providing the aesthetic pleasure to the readers in approximately the same manner as that of the original one.INTRODUCTION TO THE SOURCE TEXT:Hemingway was the most influential fiction writer of his generation who changed the way many of his contemporaries expressed themselves. Ernest Hemingway was an American author and journalist. His style had a strong influence on 20th-century fiction. Hemingway produced most of his work between the mid-1920s and the mid-1950s, and won the Nobel Prize in Literature in 1954. After high school he reported for a few months for The Kansas City Star, before leaving for the Italian front to enlist with the World War I ambulance drivers. In 1918, he was seriously wounded and returned home. His wartime experiences formed the basis for his novel A Farewell to Arms. He published seven novels, six short story collections and two non-fiction works. Many of these are considered classics of American literature. When it was published in 1929, A Farewell to Arms was considered to be the bestseller. It was built on the theme of universal loneliness in the midst of war, and it left the impression of overwhelming emotion severely controlled, conveyed with the fewest possible words. That was the typical of the best of Hemingways writing. The love story of A Farewell to Arms is narrated against the background of war. In the course of the novel, there are many references to the war and troops-movement. In fact, the novel is as much a story of war as of love. A Farewell to Arms deal with the subject: the condition of man in a society upset by the violence of war. The setting of the novel is war itself, and the romance of Frederic Henry and Catherine Barkley, their attempt to escape the war and its resulting chaos is a parable of the 20th century mans disgust and disillusionment at the failure of civilization to achieve the ideals it had been promising throughout the 19th century. The novel opens with World War I raging all over Europe. A young American student, studying architecture in Italy, offers his services to the Italian army. In Gorizia, he is wounded in the knee and is sent to recuperate in a hospital in Milan. He falls in love with an English nurse, Catherine Barkley, then he lives with her, and she becomes pregnant. He returns to the front in Gorizia and is caught in the Italian retreat. In order to save his life, he deserts his post and goes away to a hospital in Milan to take Catherine and go some place where they can start a new life. They go to Switzerland but cannot live happily, for a fresh tragedy awaits them. Their eagerly awaited son is stillborn and Catherine, who can never have a normal delivery, dies after a Caesarean operation. A Farewell to Arms was the first to be made available in Urdu. Its Urdu translation is done by well-known writer and journalist Ashfaq Ahmed, under the name of Widaa-e-Jang. INTRODUCTION TO THE TARGET TEXT:Ashfaq Ahmed was one of the most prolific Urdu writers in Pakistan. He was a distinguished playwright, broadcaster, intellectual and spiritualist. He wrote the finest works in Urdu. He started writing stories in his childhood.He completed his Masters in Urdu literature from Government College Lahore. He worked as a teacher at Dayal Singh College, Lahore and at Rome University. He worked in Radio Pakistan as a script writer. He also joined Radio Rome as an Urdu newscaster. During his stay in Europe, he learned Italian and French languages from the University of Rome and University of Grenoble, France. He took out his own monthly literary magazine; Dastaango. Ashfaq Ahmed started his popular radio program, Talqeen Shah which made him immensely popular. He was appointed director of the Markazi Urdu Board. He also served as adviser in the Education Ministry.Ashfaq Ahmed's subtle sense of humor and deep thoughts are reflected in his writings. His popular TV plays include Aik muhabbat sau afsanay, Uchhay burj Lahore dey, Tota kahani, Hairat kadah and Mun chalay ka sauda. All through his life, Ashfaq Ahmad endeavored to reform the society through his writings. He had authored over twenty five books including a travelogue, Safar dar Safar with a typical style. In fact, he gave a new mold to diction and locale.He used Punjabi literary words very well in Urdu and introduced a new kind of prose. Ashfaq Ahmed, in his later period of life, was greatly inclined towards Sufism, which was visibly reflected in most of his works. Ashfaq Ahmed has translated Ernest Hemingway's famous book, A Farewell to Arms as Widaa-e-Jang. In taaruf (introduction) of the translation he has written a short account of Hemingways life. He has not written a summary of the source text, but told about authors intention of writing the source text. He has not provided any translator notes about his method of translation. LITERATURE REVIEW:Translation has always been understood to refer to a written transfer of a message or meaning from one language to another. For a formal definition, Dubois says translation is the expression in another language (or target language) of what has been expressed in another, source language, preserving semantic and stylistic equivalences (in Bell, 1991: 5).The theoretical framework for Translation theories, models and analogies has to be drawn, for the understanding of the Translation system, and to determine its validity for application in real life translation.The explanation of the system is the theory of the scientist which, when passed on to the other, is realized as a model. A theory is an explanation of a phenomenon, the perception of the system and order of something observed. It has no tangible manifestation. It is an idea which constitutes the internal representation of phenomenon.A model is, in contrast, an external manifestation, rather than an internal representation of the explanation; a realization of the theory/pedagogy. It exists as a tangible object or form which stands for the idea embodied in the theory/pedagogy.

Translation theory, in fact, limits its activities to the level of technique or that of method, while what is required is a principled approach from which the rest can flow.In order to assess that how far the translator has succeeded in making the text to meet all the standards of textuality, different translation theories, models and approaches are applied on the text. The applied theories, models and approaches help to check the validity of the translated text. Moreover these are applied in order to see the levels of differences occur in writing in different languages. The models selected to analyze the target text in our present project are; Eugene Nida And The Science of Translating Roman Jacobson: The Nature of Linguistic Meaning and Equivalence Vinay and Darbelnets Model Katharina Reisss Text Typology1. EUGENE NIDA AND THE SCIENCE OF TRANSLATING:Nida and Taber in their book; The Theory and Practice of Translation (1969) listed some universal features of text that should be taken into account in translation:all languages do have certain important features which can be used, and which in effective communications are used, to mark the units larger than sentencesEquivalence is a preoccupation of the American Bible translator Eugene Nida who rejects the free versus literal debate in favor of the concept of formal and dynamic equivalence a concept that shifts the emphasis to the target audience.This was done in order to make reading and understanding the Bible easier for people with no knowledge of it. Let us examine his model of translation as shown in Figure below (1964: 146): In this model, Nida divides the translation process into a decoding phase and an encoding phase in between the transfer of the message (M) from the source to the target language (A to B). This model is clear and makes sense in a number of ways. In the history of translation, the Bible has very often been translated by a source-language speaker into the target language (from his mother tongue (A) into his foreign language (B)); this version would often be edited and written in correct target language by a target-language speaker.EugeneNida's gave two types of equivalence: formal and dynamic. Formal equivalence focuses attention on the message itself, in both form and content Principles of Correspondence in (Venuti, 129). Formal equivalence centers on the form and content of the message of the ST while dynamic equivalence, later termed functional equivalence (Venuti p.148), aims at complete naturalness of expression (Munday p.42) in the TT.His 1964Toward a Science of Translatingand his co-authorship with Taber in 1969 ofTheory and Practice of Translationaim at creating a scientific approach incorporating linguistic trends for translators to use in their work (Munday p.38).Dynamic equivalence is based upon the principle of equivalent effect. In this sort of translation the emphasis is on the dynamic relationship between message and receptor, and care is taken that the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message (129). Catford terms such translations free' as opposed to literal' translations; Dagut goes even further and classifies them as reproductions' rather than translations. Nida points out that there are a number of intervening grades between these two poles of translation. Recent trends in translation, however, seem to be inclined towards dynamic rather than formal equivalence.The British translation theorist Peter Newmark, influenced by the work of Nida, feels that the difference between the source language and the target language would always be a major problem, thus making total equivalence virtually impossible (Munday p.44).He replaces the terms formal equivalence and dynamic equivalence with semantic translation and communicative translation, and alters the focus of the translation back to the ST with his support for a literal approach.2. ROMAN JAKOBSON: THE NATURE OF LINGUISTIC MEANING AND EQUIVALENCE:

Douglas Robinson writes that for some translators the entire purpose of translation is achieving equivalence. The target text must match the source text as fully as possible (p.73)Roman Jakobsons study of equivalence gave new impetus to the theoretical analysis of translation since he introduced the notion of 'equivalence in difference'. Linguistic meaning and equivalence are the key issues for the Russian structuralist Roman Jakobson who, in his 1959 workOn Linguistic Works of Translation, states that there are 3 types of translation: Intralingual (rewording or paraphrasing, summarizing, expanding or commenting within a language) Interlingual (the traditional concept of translation from ST to TT or the shifting of meaning from one language to another (Stockinger p.4) Intersemiotic (the changing of a written text into a different form, such as art or dance(Berghout lecture 27/7/05; Stockinger p.4).For Jakobson, meaning and equivalence are linked to the interlingual form of translation, which involves two equivalent messages in two different codes (1959/2000: p.114).He considers Saussures ideas of the arbitrariness of the signifier (name) for the signified (object or concept) and how this equivalence can be transferred between different languages, for example the concept of a fence may be completely different to someone living in the suburbs or a prison inmate.He expands on Saussures work in that he considers that concepts may be transferred by rewording, without, however, attaining full equivalence.His theory is linked to grammatical and lexical differences between languages, as well as to the field of semantics.Jakobson claims that, in the case of interlingual translation, the translator makes use of synonyms in order to get the ST message across. This means that in interlingual translations there is no full equivalence between code units. According to his theory, 'translation involves two equivalent messages in two different codes' (ibid: 233). Jakobson goes on to say that from a grammatical point of view languages may differ from one another to a greater or lesser degree, but this does not mean that a translation cannot be possible, in other words, that the translator may face the problem of not finding a translation equivalent. He acknowledges that 'whenever there is deficiency, terminology may be qualified and amplified by loanwords or loan-translations, neologisms or semantic shifts, and finally, by circumlocutions' (ibid:234). Jacobson provides a number of examples by comparing English and Russian language structures and explains that in such cases where there is no a literal equivalent for a particular ST word or sentence, then it is up to the translator to choose the most suitable way to render it in the TT.

There seems to be some similarity between Vinay and Darbelnet's theory of translation procedures and Jacobson's theory of translation. Both theories stress the fact that, whenever a linguistic approach is no longer suitable to carry out a translation, the translator can rely on other procedures such as loan-translations, neologisms and the like. Both theories recognize the limitations of a linguistic theory and argue that a translation can never be impossible since there are several methods that the translator can choose. The role of the translator as the person who decides how to carry out the translation is emphasized in both theories. Vinay and Darbelnet as well as Jacobson conceive the translation task as something which can always be carried out from one language to another, regardless of cultural or grammatical differences between ST and TT.So Jakobson's theory is essentially based on his semiotic approach to translation according to which the translator has to recode the ST message first and then s/he has to transmit it into an equivalent message for the TC.

3. VINAY AND DARBELNETs MODEL:A classical model and one which has had a very wide impact is the Vinay and Darbelnet model. Vinay and Darbelnet in their bookStylistique compare du franais et de langlaiscame in 1958 and its revised form in English in 1995, thirty seven years after the original. It compare the differences between English and French and identify two translation techniques that somewhat resemble the literal and free methods (Vinay and Darbelnet in Venuti p.128). Vinay and Darbelnet identified two general translational strategies direct translation and oblique translation and these two strategies comprise seven procedures. Direct (literal) translation discusses three possible strategies:1. Literal translation: it is word-for-word translation. According to Vinay and Darbelnet it is most of common between languages of same family and culture.2. Calque: SL expression is literally transferred to the TL, such as the English character Snow White in French becomes Blanche Neige, because the normal word configuration in English of white snow would be transferred as neige blanche3. Borrowing: SL word is transferred directly into the TL.When literal translation is not possible, Vinay and Darbelnet say that the strategy of oblique (free) translation must be used. This covers further four procedures:1. Transposition: interchange of parts of speech that do not affect the meaning, a noun phrase for a verb phrase.2. Modulation: This changes the semantics and point of view of the S.L. It is a procedure that is justified, in the words of the English edition, when, although a literal, or even transposed, translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic or awkward in the T.L.3. Equivalence: Vinay and Darbelnet used this term to refer the cases where languages describe the same situation by different stylistic or structural means. It is particularly useful in translating idioms and proverbs.4. Adaptation: cultural references may need to be altered to become relevant (Vinay and Darbelnet in Venuti pp129-135).

Direct translation procedures

Borrowing

Calque

Literal Translation

Oblique translation procedures

Transposition

Modulation

Equivalence

Adaptation

Table 1 Vinay & Darbelnets model of translation proceduresTwo other important features arise from the work of Vinay and Darbelnet.The first of these is the idea of servitude, which refers to the compulsory changes from ST to TT; and option, which refers to the personal choices the translator makes, such as the modulation example above.Option is an important element in translation because it allows for possible subjective interpretation of the text, especially literary texts (Munday pp. 59-60).These seven main translation categories operate on three levels, i.e. the lexicon, syntactic structure, the message.To facilitate analysis where oblique translation is used, Vinay and Darbelnet suggest numbering the translation units in both the S.T and T.T. The units which have the same number in each text can then be compared to see which translation procedure has been adopted. 4. KATHARINA REISSS TEXT TYPOLOGY: In 1970s Katharina Reiss introduced the concept of text type which builds on the concept of equivalence but views the text rather than the word or sentence as the level at which the communication is achieved and at which the equivalence must be sought. Her functional approach initially aims at systematizing the assessment of translations. It borrows Karl Buhlers three way categorization the functions of language. There three functions of language, according to Reiss, are linked to the corresponding language dimensions and to the text types or communicative situations in which they are used.The main characteristics of each text types as summarized by Reiss, are as follows;1. The first type of text is the Informative text. The function of language in this text is to represent objects and the facts. There is a plain communication of facts i.e. the information, knowledge and opinions etc are transferred are transferred to the readers of the translated text. The language dimension used to transmit the information is logical and referential. The content is the main focus of this type of text, the translated text should transmit the referential content i.e. it should aim to transmit the information, facts and object of the source text. 2. The second type of text is the Expressive text. It is actually a creative composition, in which the author of the translated text expresses the senders attitude. The translation method is identifying method, in which the translator adopts the perspective of source text author. Form of text is focused on in this type and the author uses the aesthetic dimension of language. The sender or author of the original text is fore grounded. 3. The third type of text is the Operative text. The function of the language is appellative in this type i.e. it makes appeal to the reader or receiver of the text in a certain way. The translation should employ the adaptive method, thus creating an equivalent effect among the TT readers. This adaptive method is actually concerned with changing the behavior of the readers of the text. The form of language is dialogic and the focus is appellative.4. The fourth type of text, according to Reiss, is the Audio medial text. Such text include films and visuals and spoken advertisements which supplement the other three functions with visual images, music etc.Reiss also lists a series of intra linguistic and extra linguistic instruction criteria by which adequacy of the target text may be assessed.Intralingual criteria involve semantic, lexical, grammatical and stylistic features.Extra lingual criteria involve situation, subject field, time, place, receiver, sender and affective implications. (Irony, humor, emotion etc)For an expressive text, it is important to retain the metaphor in the translation of an expressive text than in informative text, where translation of only semantic value alone will be sufficient. (Munday:72-74)According to Reiss (1976), the assessment of a translation requires that in the first place one must determine the kind of text the original represents (in term of text type and text variety); the translator's conception of the translation (to be inferred from his manner of translating, and perhaps also explicitly stated in a translator's preface); and the aim of the translated text. Only when these factors have become established is one in a position to judge a translation "fairly", in accordance with the appropriate criteria. (Reiss 1976:97-100.)Text conceptTranslation typeTranslation aim

Text = sum of wordsword-for-word translation (interlinear)comparative linguistic research

Text = sum of sentencesliteral translation (grammar translation)foreign language learning

Text = basic linguistic signlearned translation (deliberately marked + commentary)study of culture-bound language differences

Text = verbal component of a communication process (text-with-a-function)communicative translationa) normal caseb) special subtypea) integral communicative performanceb) all kinds of changes of function

Table 2 Katharina Reisss model of translation typology

ANALYSIS OF THE TARGET TEXT:EUGENE NIDA AND THE SCIENCE OF TRANSLATING:Eugene Nida rejects the free versus literal debate in favor of the concept of formal and dynamic equivalence a concept that shifts the emphasis to the target audience. His introduction of the formal and dynamic equivalence was crucial in introducing a receptor-based (or reader-based) orientation to translation theory.Eugene A. Nida (1964) distinguishes between formal and dynamic equivalence in translation. He says formal equivalence refers to a faithful reproduction of source-text form elements whereas a dynamic equivalence refers to equivalence of extra linguistic communicative effect (Nida 1964 in Nord 1997: 5). Moreover, in A Framework for the Analysis and Evaluation of Theories of Translation (1976) Nida emphasizes the purpose of translation, the roles of both the translator and the receivers or recipients of translation, and also the cultural implications of the translation process.Nidas model of equivalence is applicable to the translation of A Farewell to Arms as Widaa-e-Jung. Examples from the text are as follows:1. Formal equivalence is described as; it focuses attention on the message itself, in both form and content. It is actually word to word translation of the text.ST (Source Text)

TT (Target Text)

The trunks of the trees too were dusty and the leaves fell early that year.(pg 7)

(pg 5)

The plain was rich with crops, there were many orchards of fruit trees and beyond the plain the mountains were brown and bare.(7)

(Pg 5)

The next year there were many victories. (pg 8)

(pg 6)

The day had been hot. (pg 21) (pg 26)

The carpet on the stairs was worn. (pg 115) (pg 167)

I stepped out into the rain and the carriage started. (pg116) (pg 168)

The roads were muddy. (pg 118) (pg 173)

I went to the door and looked out. (pg 128) (pg 189)

The girl looked at me fiercely. (pg 141) (pg 209)

Later we were on a road that lead to a river. (pg 150)

(pg 224)

We were supposed to wear steel helmets even in Gorizia.(pg 25) (pg 32)

From the above instances, it can be seen that sentences from source text (ST) is translated word to word in the target text (TT) i.e. Urdu. 2. Dynamic equivalence is defined as the relationship between receptor and message which is substantially the same as that which existed between the original receptors and the message. It is actually sense to sense translation of the text. ST (Source Text)

TT (Target Text)

Sculpture had always seemed a dull business. (pg 25) (pg 31)

Its not my leg. I got a rupture. (pg no. 29) (pg 38)

The driver came out of the door with papers for the wounded in the car.(page no. 29)

(pg 38)

I drove coming back and went fast with the emptycar to find the man from Pittsburgh.(30) (pg 40)

The column stalled again in the night and did not start. I got down and went back to see Aymo and Bonello. Bonello had two sergeants of engineers on the seat of his car with him. They stiffened when I came up. (140)

(pg 209)

They were ruddy and healthy looking (152). (pg 226)

They did not talk but we could not have heard them because of the noise from the river.(pg 152) (pg226 )

It was beginning to be light enough, so I could see the bushes along the shore-line.(163) (pg 244)

While we play billiards, we drank champagne. (181) (pg 270 )

I went to the door very softly, not to disturb Catherine, and opened it. (188) (pg 281)

From these instances, it can be seen that sentences from source text (ST) is translated sense to sense in the target text (TT) i.e. Urdu. The meaning of the source text is closer to the meaning of target text.2. ROMAN JAKOBSON: THE NATURE OF LINGUISTIC MEANING AND EQUIVALENCE: Roman Jakobson in On Linguistic Aspects of Translation, described three kinds of translation; intralingual, interlingual and inter-semiotic. Jacobson examined the key issues of interlingual translation (i.e. translation between two different written languages) notably linguistic meaning and equivalence.Jakobson has built his model on the relation set out by Saussure between the signifier (the spoken and written signal) and the signified (the concept).together, the signifier and the signified form the linguistic meaning; that is arbitrary. He then moves on to consider the thorny problem of equivalence in meaning between words in different languages. Jacobson says that: There is ordinarily no full equivalence between code-units.Jakobsons model of linguistic meaning and equivalence is applicable to the translation of A Farewell to Arms as Widaa-e-Jung. For example, the English word patriot is translated in Urdu as Razaa kaar. Though there is no full equivalence between code-units in English and Urdu but still the meaning is conveyed. For the message to be equivalent in source text (ST) and target text (TT), the code-units will be different since they belong to two different sign systems (languages) which partition reality differently.As in Jakobsons description, interlingual translation involves substituting messages in one language not for separate code-units but for entire messages in some other language. Thus it is not any inability of one language to render a message that has been written in another verbal language. (Jakobson 1959/2004; 139)For Jakobson, cross-linguistic differences centre on obligatory grammatical and lexical forms; languages differ essentially in what they must convey and not in what they may convey. (Jakobson 1959/2004; 139)The differences in interlingual translation (English-Urdu, vice versa) occur at:1. The Level of Gender:There are certain nouns which are feminine in English language but are masculine or neutral in Urdu. Likewise, sometimes it is the other way around. For example, ST (Source Text) TT (Target Text)

A bat flewPage no. 75 Page no.111

the moon shone through Page no. 261 Page no. 290

the lake widened Page no. 261 Page no. 290

the wind blew Page no. 276 Page no. 305

they should declare war on her (Austria)Page no. 79 Page no. 84

From the above examples it can be observed that moon is neutral in English while it is masculine in Urdu. Likewise, Austria is feminine in English while masculine in Urdu.

1. The Level of Aspect:The level of aspect involves the change of part of speech. ST (Source Text)

TT (Target Text)

I couldnt conscientiously open a knee

Page no. 97 Page no. 106

Dont talk Page no. 97 Page no. 106

As in the above-given examples, Conscientiously is adverb in English while it is noun in the Target text i.e. Urdu. 1. The Level of Semantic Fields:The main focus of the level of semantic fields is equivalence in meaning between the two languages. ST (Source Text)

TT (Target Text)

Races Page no. 94 Page no. 134

Bandaged Page no. 94 Page no. 134

Bowed Page no. 115 Page no. 167

sunset Page no. 57 Page no. 48

tanneries Page no. 188 Page no. 208

Undressing Page no. 38 Page no. 36

horse-drawn cartsPage no. 188 Page no. 208

British batteries Page no. 42 Page no. 41

wedge like gapPage no. 261Page no. 290

steer Page no. 261 Page no. 290

under your arm Page no. 261 Page no. 290

Close Page no. 260 Page no. 289

noble Page no. 260 Page no. 289

marble Page no. 260 Page no. 289

ambulance Page no. 260 Page no. 289

As in the first example, there is one word sunset in the source text while in the Urdu language in order to achieve equivalence in meaning, it has been translated into more than one words in Urdu.

VINAY AND DARBELNETS MODEL:Vinay and Darbelnet carried out a comparative stylistic analysis of French and English. They noted the differences and identified the translation strategies and procedure in the texts of both the languages i.e. source text and target text. The two general strategies identified by them are:1. Direct translation1. Oblique translationBoth the strategies comprising seven procedures can be found in the translation of the text A Farewell to Arms into Widaa-e-Jung. Direct Translation:Direct translation is a literal or word for word translation. It covers the following three procedures:1. Borrowing:In borrowing, the word in the source language (SL) is directly transferred into target language (TL). It is done to bridge the semantic gap between two languages. For example,ST (Source Text)

TT (Target Text)

station page no. 116 Page no. 168

Radiator Page no. 140 Page no. 208

first Page no. 108 Page no. 104

machine Page no. 108 Page no. 104

x-ray Page no. 108 Page no. 104

surgeon Page no. 108 Page no. 104

ShawlPage no. 191 Page no. 214

Gear Page no. 191 Page no. 214

socialist Page no. 191 Page no. 214

regiment Page no. 191 Page no. 214

Seats Page no. 35 Page no. 45

unit Page no. 35 Page no. 45

mess Page no. 35 Page no. 45

Espagette Page no. 35 Page no. 45

Bench Page no. 35 Page no. 45

truck Page no. 35 Page no. 45

stock-yard Page no. 35 Page no. 45

Cabin Page no. 35 Page no. 45

hoyle Page no. 35 Page no. 45

porch Page no. 35Page no. 45

Order Page no. 35 Page no. 45

In all of the above examples words in source language are directly transferred in target text.2. Calque:Calque is a special kind of borrowing in which the source language expression is transferred in a literal translation. For example,

ST (Source Text)

TT (Target Text)

Fuse cap Page no. 80 Page no. 118

Medals Page no. 118 Page no. 174

clearing station page no. 135 Page no. 201

Field hospitals Page no. 135 Page no. 201

metal to metal brakes Page no. 35 Page no. 45

golden gate Page no. 35 Page no. 45

wheel Page no. 35 Page no. 45

Sergeant Page no. 35 Page no. 45

differential Page no. 35 Page no. 45

ambulance Page no. 35 Page no. 45

In the above examples, Urdu substitutes of the words like ambulance, golden gate etc could be used by the author, but he borrowed these words as it is from the source text, and transferred the source language expression in a literal translation.

3. Literal Translation:It means word for word translation. For example, ST (Source Text) TT (Target Text)

Rotten Page no. 182 Page no. 271

Delightful language Page no. 185 Page no. 276

Noble young man Page no. 74 Page no.109

Good man Page no. 189 Page no. 210

Good night Page no. 190 Page no. 210

In cases where literal translation is not possible, the strategy of oblique translation is used.

2. Oblique Translation:Oblique translation refers to the free translation of the source text into the target text. The following four procedures fall in the oblique translation.1) Transposition:It is a change of one part of speech for another without changing the sense. For example,ST (Source Text)

TT (Target Text)

You talked out loud Page no. 143 Page no. 213

He slept heavily Page no. 211 Page no. 234

I was very extravagant darling, she said, but its a fine. Page no. 148 Page no. 161

In the first example, the word loud is a verb in the source language which shows some action. While in its translation it has been changed to noun that is bol. Similarly in the second example, the word slept is a verb in the source language which shows some action. While in its translation it has been changed to noun that is neend

2) Modulation:It changes the semantics and point of view of source language. It exists in sentences where the translator changes the sentences in such a way e.g. affirmative to negative, active to passive, etc. but meaning remains the same as shown through the given examples. For example,

ST (Source Text) TT (Target Text)

If I had brains I wouldnt be here.Page no. 151 Page no. 225

Why havent you brains, anarchist?Page no. 151 Page no. 225

the Austrians were sons of bitches Page no. 95 Page no. 104

I shook hands with the third doctorPage no. 98. . Page no. 107

you wouldnt be in bed Page no. 108 Page no. 99

were all friends here Page no. 160 Page no. 177

I didnt say anything Page no. 211 Page no. 233

no one was talking Page no. 215 Page no. 238

3) Equivalence:Equivalence is used to refer to the cases where different languages describe the same situation by different stylistic or structural means.

ST (Source Text)

TT (Target Text)

It was all right.

Page no.185 Page no. 273

It is a very unattractive wisdom Page no. 187 Page no. 279

I said I had killed plenty Page no. 95 Page no. 104

And much lifting I was upstairs and in bed again Page no. 95 Page no. 104

an army travels on its stomach Page no. 195 Page no. 216

In the above examples, the translator has used idioms and proverbial expressions while translating simple sentences but still the meaning is fully conveyed.4) Adaptation:It involves the changing of cultural reference when a situation in the source language culture doesnt exist in the target language culture. For example, ST (Source Text)

TT (Target Text)

Go to hell Page no. 52 Page no. 73

I hope to Christ not. Page no. 149 Page no. 222

it was like being put to bed after early supper Page no. 72 Page no. 75

for Christs sweet sake take me to some room Page no. 83 Page no. 91

Christ, I say its rotten I say its rotten. Jesus Page no. 40 Page no. 39

Jesus Christ, aint this all a goddamn war? Page no. 41

Page no. 40

theyll shell the hell out of us Page no. 52 Page no. 50

The given examples show that the writer has used or changed the words according to his beliefs and cultural context.

KATHARINA REISSS TEXT TYPOLPGY:

The target text (TT) i.e. Widaa-e-Jung is both an expressive and informative text.The informative text is one which provides us information about the facts. In this case, the target text provides us information about the details and horrors of the World War.1. Language and Dimension: Being an informative text, the Target Text represents the full accounts of objects and figure.Examples from the source and target texts are given below:

ST (Source Text)

TT (Target Text)

At the front they were advancing on the Carso, they had taken Kuk across from Plava and were taking the Bain-sizza plateau. Page no. 85 Page no. 97

Many Germans in Italian uniform mixing with the retreat in the North. That as one of those things you always heard in the war Page no. 209.

Page no. 232

Not in war times. I dont think they let the Italians cross the frontier. Page no. 267 Page no. 296

I am sorry, we havent any rolls in war time Page no. 268. Page no. 297

The above examples show that the text type is plain communication of facts i.e. it is informative and referential.2. Text Focus:The Target Text (TT) is content-focused and descriptive as well. For example: ST (Source Text)

TT (Target Text)

We walked down the stairs instead of taking the elevator. The carpet on the stairs was worn. I had paid for the dinner.

Page no. 115 Page no. 167

We got into Milan early in the morning and they unloaded us in the freight yard. An ambulance took me to the American hospitalPage no. 62 Page no. 89

Catherine Barkley was greatly liked by the nurses because she would do night duty indefinitely. Page no. 107 Page no. 118

At the start of the winter came the permanent rain and with the rain came the cholera. But it was checked and in the end only seven thousand died of it in the army. Page no. 7 7 (page no. 6)

The text is expressive text and transmits the aesthetic and artistic form of Source text. The translation uses the identifying method; still the translator is adopting the stand point of ST author. For example, ST (Source Text)

TT (Target Text)

I watched her brushing her hair, holding her head so the weight of her hair all came on one side. It was dark outside and the light over the head of the bed shone on her hair and on her neck.

Page no. 184 Page no. 275

When I awake after the operation I had not been away. You do not go away They only choke you. It is not like dying, it is just a chemical choking, so you do not feel, and afterwards you might as well have been drunk except that when you throw up nothing comes but bile and you do not feel better afterwards

Page no. 106 (page no 117)

I am afraid of rain because sometimes I see me dead in it Page no. 125 Page no. 133

The shutters were up but it was still going on inside. Page no. 38 Page no. 36

It seems she had one hemorrhage after another. They couldnt stop it. I went into the room and stayed with Catherine until she died. She was unconscious all the time, and it did not take her very long to die Page no. 317 Page no. 352

Blow, blow ye Western wind. Page no. 191 Page no. 212

From the given examples, it can also be said that the text is a creative composition that is aesthetic and expressive.

ASHFAQ AHMAD AS A TRANSLATOR:Importance of translator is defined as; ...the translator is a bilingual mediating agent between monolingual communication participants in two different language communities[footnoteRef:4]. [4: David KatansTranslating Cultures (2004: 16).]

Role of a translator varies from culture to culture, country to country, and from text to text. Translator acts as a mediator or reconciliatory and bridges the gap between source text (ST) and aesthetics of the source text in the target text.In the translation of the novel A Farewell to Arms as Widaa-e-Jang Ashfaq Ahmad has played a role of both mediator and creator.As a translator, Ashfaq Ahmad is first and foremost a mediator between the two parties for whom mutual communication might otherwise be problematic. He not only possessed a bilingual ability but also had bicultural vision. He has tried to overcome the incompatibilities which stand in the way of transfer of meaning. There are certain signs which have the value in one cultural community but are devoid of significance in another. Ashfaq Ahmad being a creative translator has identified and resolved the disparity between two cultures. Furthermore, the translation of the title of the novel (A farewell to Arms as Widaa-e-Jang) also reflects his creative ability as a translator. The translation of the title of our source text is a literary one. Because Ashfaq Ahmad has not translated it word for word but he has conveyed the sense which renders the connotative power present in the original English words of the title. Widaa- e -Jang reflects Ashfaq Ahmads reading and defines him as a non ordinary reader. He has also involved his own beliefs and values in the process of translation and has also skipped certain sentences and paragraphs in his translation. In most part of the novel he has translated many simple sentences in the form of proverbs.Widaa-e-Jang reflects Ashfaq Ahmads reading and defines him as a non-ordinary reader. In short, looking at the general and specific analysis of the novel, the translators role as a creator and mediator can be justified. He has attempted to present the original texts theme and main idea with great fidelity and care.FINDINGS AND CONCLUSION:An analysis of the target text(TT) and the source text(ST) i.e. Farewell to the arms by Earnest Hemingway and Wida-e-Jung by Ashfaq Ahmed, exhibits the Equivalent effect, No formal correspondence, Proverbial expressions, Natural and easy expressions, Sense for sense translation, Changed according to personal beliefs, Skipping of paragraphs and sentences, Aesthetics is preserved/maintainedAll the four models given above are fully applicable to the translation of A Farewell to Arms. In a crux it can be said that, Widaa-e-Jung is a fine translation of A Farewell to Arms by Ashfaq Ahmed. It carries traces of different approaches and theoretical frameworks of translation given by theorists.

REFERENCES: Introducing Translation Studies by Jeremy Munday, 2nd Edition A Farewell To Arms by Earnest Hemingway Widaa-e-Jang by Ashfaq Ahmed http://nativepakistan.com/quotes-of-ashfaq-ahmed/ http://ashfaqahmedsahab.wordpress.com/2010/01/18/introduction-ashfaq-ahmed/